Faber and Faber is reissuing five Thomas Bernhard novels with new artwork designed by Leanne Shapton. Concrete and Extinction arrive on 7 March 2019, followed by The Loser, Wittgenstein’s Nephew and Woodcutters later in the year. Beautiful!

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On Thursday evening, I started teaching an evening course called The World of Cinema at Cardiff University’s Centre for Continuing and Professional Education. I asked filmmaker, presenter, and critic Mark Cousins if he had any words of advice for students beginning a course on film. This is what he had to say…

Hi Rhys. Film is a world, not a nation or a continent. It's a language, closer to dreams than storytelling. It's young – cinema's best has still to come. It's a friend for life.

@RhysTranter just asked me about world cinema. If I had to show 6 films to introduce people to the world of film, I'd choose Ozu's Record of a Tenement Gentleman,Lubitsch's Ninotchka,Shepitko's The Ascent,Cisse's Yeelen,Satyajit Ray's Devi + Honkasalo's 3 Rooms of Melancholia. pic.twitter.com/9r6AqXa26H

How does one introduce a book of introductions by an author who needs no introduction? This month heralds the paperback release of Michael Chabon’s Bookends, an enjoyable collection of his introductions (as well as outros and liner notes) to an eclectic range of texts. Combining literary and cultural critique with revealing autobiographical reflection, Chabon shares his enthusiasm for everything from literature and popular fiction to comic books, Norse myth, movies, food, music, and baseball. He glories in the rhythms of Mark Ronson’s Uptown Special, debunking a few myths along the way, and takes time to recommend West Oakland’s soul food restaurant, Brown Sugar Kitchen. There are also personal observations about his own fiction, including a short extract from his unpublished work, Fountain City. The collection even has its own (meta) introduction. Fans of the Pulitzer Prize-winning author will seize on this book to better understand the texts and experiences that shaped Chabon as an artist. More broadly, Bookends is a wander along the lost avenues and borderlands of the twentieth-century popular imagination.

Whether discussing the cultural significance of Superman’s cape, or the pastel, symmetrical frames of Wes Anderson, the pieces that form Bookends return time and again to the role that art plays in shaping who we are. Chabon remembers picking up paperbacks of The Great Gatsby and Philip Roth’s Goodbye, Columbus before embarking on his first novel, The Mysteries of Pittsburgh. He talks about his immersion into the magical-realist settings of Greek and Norse myth as a third grader. He discusses the way Ray Bradbury’s ‘The Rocket Man’ changed his life forever when he was just ten-years-old: “I had never noticed, somehow, that stories were made not of ideas or exciting twists of plot but of language. And not merely of pretty words and neat turns of phrase, but of systems of imagery, strategies of metaphor.” Bookends celebrates the skill of artists and writers to conjure imaginary worlds, navigating the fantasy landscapes of Michael Moorcock and getting lost in the graphic dystopian cities of Howard Chaykin. Chabon has a critic’s awareness of poststructuralist and postmodern approaches to art and representation, with nods here and there to writers like Susan Sontag, Roland Barthes, and Walter Benjamin. But, ultimately, the success of Bookends lies in the way it demonstrates a lifelong emotional engagement with the possibilities of art, and the texts that speak to us at important moments in our lives. It traces the strange spark that arises at “the intersection of a wish and the tip of a pencil.”

This extract is from my review of Michael Chabon’s Bookends: Collected Intros and Outros, published in the San Francisco Chronicle, 23 January 2019.

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RhysTranter.com is a blog offering commentary and analysis across literature, philosophy, and the arts. In 2016, the site was selected to become part of the British Library’s permanent UK Web Archive. [Read More]

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